Lars von Trier’s film is about the ways of responding to art without the boundaries of morality and reason.
Whereas female sexuality was borderline vampiric in Antichrist, this time we’re in more ambiguous, contextually richer terrain.
Lars von Trier’s pretenses of self-interrogation and cross-examination avail themselves as especially useful when considering his work.
A coherent characterization of Robert Pattinson’s striving schemer is nowhere to be found in this pedestrian period piece.
It’s probably not a good sign that the poster for Oliver Stone’s Savages makes a perfect column subject for Easter Sunday.
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